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The electrical signal produced by the sinus node makes your heart’s top chambers or atria contract and push blood through to the lower chambers or ventricles.
On a beach where a strong breeze moves off the water from left to right, figures of French women, men, and children in chic Parisian dress stroll, sit, chat, or take donkey rides. The activities depicted (promenades, socializing, riding, sandbox playing) are the same as those enjoyed by residents of London or Paris. At the right, the dog suggests that these are vacationers rather than tourists seeking to recreate their urban pastimes at the seashore. Painted outdoors, this composition is typical of Boudin's beach scenes in the 1860s in its low-lying horizon, cloud-filled sky, and figures ranged across the middle ground. By scattering the figures over the surface and not closing off the scene with framing elements, the artist created the impression of a partial view of a much larger scene.
France, 19th century
oil on wood panel
Framed: 54 x 75 x 6.4 cm (21 1/4 x 29 1/2 x 2 1/2 in.); Unframed: 34.7 x 57.7 cm (13 11/16 x 22 11/16 in.)
Gift of Mrs. D. Z. Norton
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The text on this page discusses the wars between Morocco and Zang, a region of eastern Africa centered in present-day Ethiopia. In the painting the King of Zang meets three envoys. The dramatic gesture of the Zangi king, who stretches out one hand as he takes an enormous stride toward the envoys, identifies him as a powerful, assertive figure. <br><br>This page is from the first known manuscript of a Persian literary text illustrated by an Indian artist, who had probably been trained in the Jain manuscript tradition. The figures are arranged on one plane in a straight line against a flat red background, typical of manuscript painting in India in the 1400s.
India, Sultanate period
gum tempera and ink on paper
Overall: 28.6 x 21.6 cm (11 1/4 x 8 1/2 in.)
John L. Severance Fund
John Lewis Krimmel
1786–1821
9 x 7 3/8 in. (22.9 x 18.7 cm)
medium: Watercolor, black ink, and graphite on white laid paper
Metropolitan Museum of Art, New York, NY 42.95.17 1942
Rogers Fund, 1942
Medieval medicine offered few cures. Christians focused their hopes for recovery from illness or accident on their prayers to saints to intercede for them with God. Saints Cosmas and Damian, Protasius and Gervasius, were two pairs of twin brothers who were invoked for their healing of the sick. The statues are from the hospital complex at Abbeville, built between 1484 and 1492, where they may have stood in niches at the entrance to the church.
The vigorous modeling and realistic details- as in the variety in their facial expressions- are made more vivid by the use of color and give credibility to the saints' humanity. Their size, relative to the sick at their feet, conveys their superhuman powers, while the clerical garments lend them authority. The stocky proportions are typical of French sculpture of the late 15th century.
Saint Cosmas, gloves in hand, heals a man with a bloated stomach. It is likely that he originally held a vessel in his left hand. Cosmas and Damian were twin brothers who, according to legend, practiced as doctors in Cilicia in Asia Minor. They are said to have refused all payment in order to convert their patients. They were martyred in the 3rd century and are regarded as patrons of doctors and surgeons. See 27. 282, 284, 285.
French
H: 27 9/16 x W: 11 7/16 x D: 8 3/4 in. (70 x 29 x 22.3 cm)
medium: limestone with traces of paint and gilding
style: Gothic
culture: French
Walters Art Museum, 1931, by bequest.
England, Staffordshire, 18th century
jasper ware with relief decoration
Diameter: 8.6 cm (3 3/8 in.)
Gift of Mrs. John Sherwin
This wall painting fragment has a block border at the left. The piece has been repaired and repainted, and is from a tomb at Western Thebes. This man (with red flesh) was the last in a row of offering bearers. Facing right, he wears a kilt extending to the ankles that was perhaps worn under a white short-sleeved garment. He has a black coiffure covering the ears. He carries a table with a basket of red fruit (possibly pomegranates) from which flowers hang.
Egyptian
H at right: 15 11/16 x W: 11 13/16 in. (39.8 x 30 cm)
medium: black, red, white and green paint on mud coated with white plaster
culture: Egyptian
dynasty: 18th-19th Dynasty
Walters Art Museum, 1931, by bequest.
Textiles often incorporate multiple needlework techniques within a single piece. One of the techniques in this example of lace is called cutwork. In cutwork, portions of the textile ground, such as a linen or cotton cloth, are cut away and threads are removed to create holes. The edges of the hole are then reinforced with embroidery and a pattern of needle lace can be created within the perimeter. Rather than adding to the cloth to create a design, the craftsperson removes threads to fabricate a pattern.
Cyprus ?, 18th century
Plain weave wool with needle lace, burato insertion (twined ground and darned in two directions), filet/lacis border and edging (knotted ground and darned in one direction), drawn work, and embroidery; bleached linen (est.), wool (est.), and cotton (est.)
Overall: 72.6 x 233.6 cm (28 9/16 x 91 15/16 in.)
Did you know...
This lace was given to the museum by Louise Tifft Brown, a native Clevelander who became an expert in lace while living in Venice for 35 years.
Bequest of Louise Tifft Brown
The presentation scene on this seal depicts a seated, bearded deity in horned headdress and flounced robe. An interceding goddess leads a worshipper, bald in a long robe, by the hand. She is posed with one arm raised, and she also wears a flounced robe and horned headdress. An inverted crescent is suspended in the field between them. Finally, a cuneiform inscription in three registers is incorporated into the scene.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Neo-Sumerian
Diam: 1/2 in. (1.3 cm)
medium: hematite
culture: Neo-Sumerian
Walters Art Museum, 1941, by purchase.
Continuing a practice initiated by his father, Alexander III, Tsar Nicholas II presented this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901. The egg opens to reveal as a surprise a miniature gold replica of the palace at Gatchina, located 30 miles southwest of St. Petersburg. Built for Count Grigorii Orlov, the palace was acquired by Tsar Paul I and served as the winter residence for Alexander III and Marie Fedorovna.
Fabergé's revival of 18th-century enameling techniques, including the application of multiple layers of translucent enamel over "guilloché," or mechanically engraved gold, is demonstrated in the shell of the egg. So meticulously did Fabergé's workmaster, Mikhail Perkhin, execute the palace that one can discern such details as cannons, a flag, a statue of Paul I (1754-1801), and elements of the landscape, including parterres and trees.
H: 5 x W: 3 9/16 in. (12.7 x 9.1 cm)
medium: gold, "en plein" enamel, silver-gilding, portrait diamonds, rock crystal, and seed pearls
Walters Art Museum, 1931, by bequest.